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Nanxi Tanhuang (Storytelling Show with Singing) 兰溪摊簧

Time:2015-05-31Source:Internet

Profile：Nanxi Tanhuang (Storytelling Show with Singing) 兰溪摊簧

(单词翻译:双击或拖选)

时间：2006年
Time: 2006
类别：曲艺
Category: Folk Vocal Art Forms
地区：浙江
Region: Zhejiang Province
编号：V -18
Ref. No.: V -18
申报地区或单位：浙江省兰溪市
Nominating unit[s]: Nanxi City, Zhejiang Province
兰溪摊簧是形成并流行于浙江中西部兰溪地区及金华和衢州等地的一种曲艺唱曲形式。
Nanxi Tanhuang，performed in a form of storytelling and singing, was originated from and prevalent in the central and western areas of Zhejiang Province including Nanxi, Jinhua, Quzhou and other places.
相传清乾隆末年，一位县衙中的官差公务之暇在兰溪集商贾子弟传授由江苏传来的"摊簧"曲调，采用当地方言演唱，借以消闲自娱，久而久之，逐渐发展形成了具有自身体系的兰溪摊簧。至光绪二十六年，兰溪城区出现了专门演唱兰溪摊簧的"余庆社"，后易名为"群乐会"、"咏春会"。兰溪摊簧一时趋于兴盛。抗日战争时期，城区艺人避难乡下，兰溪摊簧随之而传入兰溪乡村的永昌、诸葛、游埠等地。
It is said that Nanxi Tanhuang was initiated by an official of Nanxi Government in the last years of the reign of Qianlong Emperor in the Qing Dynasty. In his spare time, the official called up upper-class juniors and instructed them the tunes of "Tanhuang" which was introduced from Suzhou. They performed Tanhuang in Nanxi dialect to recreate and enjoy themselves. As time went on, it evolved to be Nanxi Tanhuang with its own system and characteristics. In the 26th year during the reign of the Guangxu Emperor of the Qing Dynasty, a troupe exclusively performing Nanxi Tanhuang emerged in urban Nanxi. It was known as "Yu Qing She (Our Celebrity Society)" at first, and renamed as "Qun Le Hui (Group Jollity Society)", "Yong Chun Hui (Spring Panegyric Society)" later. Thanks to such troupe, Nanxi Tanhuang became a popular fad at that time. During the War of Resistance Against Japan, as the urban artists sought asylum in the countryside, Nanxi Tanhuang was transferred to Yongchang, Zhuge, Youbu and other villages of Nanxi.
兰溪摊簧文辞典雅，演唱讲究字清腔纯和字正腔圆，一直为文人雅士所喜好。流风所及，其他的坐唱班亦以自命风雅者为多，唱奏者多穿长衫，举止文雅，素有"摊簧先生"之称。坐唱班除应成员间亲朋好友之邀为喜庆助兴或敬神献唱外，一律不搞经营性唱奏。由于活动方式仅限于爱好者之间，传布不广，加上战乱影响，至20世纪40年代末期，兰溪摊簧几近绝响。
Nanxi Tanhuang boasts elegant and quaint lyrics and its performance requires clear articulation and full and proper tune. This may account for why it had long been favored by many scholars and persons of refined tastes. Following the old fashion passed down to that time, a majority of other performance troupes regarded themselves as graceful and elegant people. The performers often wore long grown and acted in decent manners, for which they were called as "Mr. Tanhuang". Additionally, the performance troupes only gave a performance for celebration or religious activities at the invitation of relatives or friends, and they were never engaged in commercial performance. Since it was only performed among enthusiasts and fans, Nanxi Tanhuang didn't have a large popularity in the early stage. What's worse, affected by the wars, Nanxi Tanhuang bordered on extinction in the end of the 1940s.
后来，兰溪摊簧许多优美的唱腔曲调被婺剧吸收。运用兰溪摊簧创编的婺剧《李渔别传》、《苦菜花》和《僧尼会》等由此成为艺术精品。20世纪80年代，在编纂中国十部文艺集成志书的过程中，对兰溪摊簧的艺术传统进行了相应的挖掘和整理，并因此恢复创作了一批新节目，民间的摊簧演唱活动也得以开展。但面对种种冲击，兰溪摊簧如何获得发展，走向繁荣，依然是一个严峻的问题，需要加以特别关注。
Later on, many graceful tunes and tones of Nanxi Tanhuang were absorbed by Wu Opera, a local opera style in Zhejiang Province. Classic Wu Operas like Biography of Li Yu (or Li Yu Bie Zhuan), Bitter Rape Flower (or Ku Cai Hua) and Gathering of Monks and Nuns (or Seng Ni Hui) did not make their name until they were adapted based on Nanxi Tanhuang. In the 1980s, the traditional skills of Nanxi Tanhuang were explored and sorted out during the course of compiling ten volumes of collection of Chinese folk vocal art forms. Afterwards, the creation of new programs of the kind was resumed, and Tanhuang shows were made available once again. Facing various shocks, however, it still remains to be a serious problem with how to further develop and revive Nanxi Tanhuang. Therefore, special attention has to be paid to the matter in question.
相关传承人：
Inheritor:
宋小青
Song Xiaoqing